DOCSLIB.ORG

Access Provided by University of Texas-San Antonio at 04/22/11 3:28PM GMT Introduction

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Access Provided by University of Texas-San Antonio at 04/22/11 3:28PM GMT Introduction Access Provided by University Of Texas-San Antonio at 04/22/11 3:28PM GMT Introduction Jonathan P. Eburne and Rita Felski hat is an avant-garde? In posing such a question, this is- sue of New Literary History seeks to reexamine a category that Woften seems all too self-evident. Our aim is not to draw up a fresh list of definitions, specifications, and prescriptions but to explore the conditions and repercussions of the question itself. In the spirit of analogously titled queries—from Kant’s “What is Enlightenment?” to Foucault’s “What is an Author?”—we hope to spur reflection not only on a particular object of study but also on the frameworks and critical faculties that we bring to bear on it. As Paul Mann notes, every critical text on the avant-garde, whether tacitly or overtly, “has a stake in the avant-garde, in its force or destruction, in its survival or death (or both).”1 A reassessment of these stakes is one of the priorities of this special issue. Narratives of the avant-garde abound. Whether they come to bury the avant-garde or to praise it, these narratives are typically organized around moments of shock, rupture, and youthful revolt that speak to certain beliefs about the functions of experimental art and the nature of historical change. In his 1968 Theory of the Avant-Garde, for instance, Renato Poggioli describes two major phases in the development of the avant-garde. The first stage is anchored in the leftist politics of the 1840s and the 1870s, where the notion of an advanced guard serves to authorize the political agitations and underground activities that helped trigger the revolutionary events of 1848 and the Paris Commune. In the late nineteenth and early twentieth century, the mantle of the avant- garde is transferred from politics to aesthetics, as manifested in the new stridency and shock value claimed by art and the self-consciously vanguardist ethos of such movements as Dada, futurism, surrealism, and constructivism. For Poggioli, however, such aesthetic appropriations of the insurrectionary energies of political vanguardism remained largely metaphorical and risked bad faith in exaggerating the circumscribed effects of artistic innovation and intervention.2 This narrative has been widely adopted and adapted in the four de- cades since its publication, and its insistence on the historical priority of a strictly political—and leftist—incarnation of the avant-garde remains influential. From Poggioli’s vantage point in 1968, the meaning of past New Literary History, 2010, 41: v–xv vi new literary history avant-gardes reflected the urgency of contemporary concerns: to what extent could the history of avant-gardes and their oscillation between political and aesthetic goals shed light on the utopian ambitions of the New Left? In our own moment, we may be struck by the fact that this narrative of stages—the “political” moment of the 1840s and 1870s, the “aesthetic” moment of the 1920s, and the “theoretical” moment of the 1960s—persists in imputing a single, overriding agency and intention to avant-garde activity, in spite of the historical differences it acknowledges. Such a narrative tends, in short, to measure the successes of avant-garde activity—and above all, its failures—against a singular criterion of revo- lutionary political transformation. The meanings and consequences of avant-gardes, however, cannot be deduced from the metaphorical resonance of the term itself. Indeed, the militarist aggression and forward movement implicit in the idea of the avant-garde have been questioned almost as frequently as they have been heeded; the amplitude of radical artistic and political practices constitutes a multifaceted history of such renegotiations. And whether the avant-garde represents a discrete moment or series of moments in the intellectual history of modernity or a more diffuse aesthetic or politi- cal ethos, its currency resides as much in the history of grappling with its valences as in the diverse works and movements collected under its name. This special issue proposes, then, that the question “what is an avant-garde?” remains a productive site for methodological and historical invention, and not merely a monument to the glorious past of radical art. For the past few decades, the study of the avant-garde has persistently circled around the question of its death. The parameters for such claims were largely set by Peter Bürger’s obituary to radical art, published a few years after Poggioli’s study in 1974 and translated into English in 1984. In his Theory of the Avant-Garde, Bürger pays tribute to the historical avant-garde’s challenge to the autonomy of art, while underscoring the lessons of its failure. For Bürger, the enshrining of the ready-made in the museum delivers the lesson that it is the institution, rather than a work’s intrinsic qualities, that defines what counts as art. This lesson constitutes both the success of the avant-garde—in denaturalizing artistic genius as the source of aesthetic value—and its inevitable limit. The ease with which the museum incorporates and subsumes all artistic challenges to its authority testifies to the futility of attempts to overcome the functional separation of art and life by eliminating the mediating presence of social institutions. The heroic hopes of the historical avant-garde survive only as an object of present-day nostalgia or melancholy. Meanwhile, the ever more calculated provocations of contemporary artists—testifying to the seemingly limitless selling power of shock—merely underscore the inauthenticity of their insurrectionary postures.3 introduction vii Bürger’s insistence on the finitude of the historical avant-garde (in an argument largely centered on the Dada and surrealist movements of prewar and interwar Europe) is suffused with the imperatives of his own intellectual inheritance, that of Frankfurt School critical theory. The oppositional energies of the avant-garde find their continuation and completion elsewhere—not in the bad-faith gestures of a newly com- modified neo-avant-garde, but in the practice of radical critique itself. Theory, in other words, shoulders the antinomian and anti-institutional role previously assigned to radical art. A similar logic is echoed in the vanguardist aspirations of a range of influential frameworks, from “French theory” to cultural studies, which often define their radical ambitions and interventionist agency in opposition to orthodox beliefs, intellectual traditions, and fixed institutional structures.4 Given its frequent reliance on a rhetoric of innovation and rupture, as well as an anti-institutional animus that may seem questionable in the light of its own implication in structures of higher education, it is not surprising that theory itself—or a certain conception of what counts as theory—is now subject to the same proclamations of obsolescence, exhaustion, and death previously leveled at avant-garde art. The following essays are, for the most part, not especially concerned with salvaging the revolutionary élan of avant-gardism or, for that matter, of critical theory. One goal of the issue is instead to question the pervasive tendency to personify the avant-garde through a biographical narrative of birth, youthful insurrection, and death—a narrative that translates psychologically into a predictable arc of anticipation followed by disap- pointment, and politically into the lexicon of a radical oppositional force that cannot escape its subsequent co-option. Experimental aesthetic and political movements continue to form and develop throughout the world. What is the nature of this persistence—and what new demands does it levy upon contemporary critical practice and our presumptions about historical change? For their part, historical theories of the avant- garde such as those of Bürger and Poggioli underscore the limits of formalist approaches eager to conjure evidence of transgression out of close readings of individual art works. Semiotic and social subver- sion are far from synonymous, and the defiance of artistic convention comes without political guarantees. Yet the subsuming of all avant-garde movements within a single development narrative allots an excessive importance to the avant-garde’s European origins, while condemning all subsequent forms of radical art to repetition, belatedness, and bad faith. In this regard, Hal Foster and others have argued that the all-or- nothing nature of arguments such as Bürger’s takes the revolutionary rhetoric of the avant-garde too much at its own word, overlooking the possibility of muted, qualified, deferred, or different transformations. viii new literary history Indeed, as avant-garde movements develop in new locations and changed historical contexts, they continue to reassess their goals, formulate new ambitions, and develop alternative forms of intellectual, political, and artistic practice.5 Looking beyond a restricted vocabulary of innovation and exhaustion, resistance and commodification, a number of the following essays assess diverse forms of avant-garde activity in terms of what they make possible, rather than rushing to quantify their ultimate success or failure. Even those essays wary of retaining the term “avant-garde” as a synonym for experimental aesthetic or political activity remain interested in exploring how various forms of such activity persist under contemporary conditions. In either case, this shift in focus requires dislodging certain beliefs about the nature of social institutions and the dynamics of historical change. The relationship
Load more

Recommended publications
  • Preserving New Media Art: Re-Presenting Experience
    Preserving New Media Art: Re-presenting Experience Jean Bridge Sarah Pruyn Visual Arts & Interactive Arts and Science, Theatre Studies, University of Guelph, Brock University Guelph, Canada St. Catharines, Canada [email protected] [email protected] ABSTRACT Keywords There has been considerable effort over the past 10 years to define methods for preservation, documentation and archive of new Art, performance art, relational art, interactive art, new media, art media artworks that are characterized variously as ephemeral, preservation, archive, art documentation, videogame, simulation, performative, immersive, participatory, relational, unstable or representation, experience, interaction, aliveness, virtual, technically obsolete. Much new media cultural heritage, authorship, instrumentality consisting of diverse and hybrid art forms such as installation, performance, intervention, activities and events, are accessible to 1. INTRODUCTION us as information, visual records and other relatively static This investigation has evolved from our interest in finding documents designed to meet the needs of collecting institutions documentation of artwork by artists who produce technologically and archives rather than those of artists, students and researchers mediated installations, performances, interventions, activities and who want a more affectively vital way of experiencing the artist’s events - the nature of which may be variously limited in time or creative intentions. It is therefore imperative to evolve existing duration, performance based,
    [Show full text]
  • Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs
    Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs The thesis is submitted in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy of the University of Portsmouth. September 2014 Declaration Whilst registered as a candidate for the above degree, I have not been registered for any other research award. The results and conclusions embodied in this thesis are the work of the named candidate and have not been submitted for any other academic award. Word count: 85,810 Abstract Extreme art cinema, has, in recent film scholarship, become an important area of study. Many of the existing practices are motivated by a Franco-centric lens, which ultimately defines transgressive art cinema as a new phenomenon. The thesis argues that a study of extreme art cinema needs to consider filmic production both within and beyond France. It also argues that it requires an historical analysis, and I contest the notion that extreme art cinema is a recent mode of Film production. The study considers extreme art cinema as inhabiting a space between ‘high’ and ‘low’ art forms, noting the slippage between the two often polarised industries. The study has a focus on the paratext, with an analysis of DVD extras including ‘making ofs’ and documentary featurettes, interviews with directors, and cover sleeves. This will be used to examine audience engagement with the artefacts, and the films’ position within the film market. Through a detailed assessment of the visual symbols used throughout the films’ narrative images, the thesis observes the manner in which they engage with the taste structures and pictorial templates of art and exploitation cinema.
    [Show full text]
  • Recorridos De La Modernidad Arte Y Cultura Visual En Las Representaciones Del Paisaje Urbano De Buenos Aires Entre 1910 Y 1936
    Recorridos de la modernidad Arte y cultura visual en las representaciones del paisaje urbano de Buenos Aires entre 1910 y 1936 Fara, Catalina Baldasarre, María Isabel 2015 Tesis presentada con el fin de cumplimentar con los requisitos finales para la obtención del título Doctor de la Facultad de Filosofía y Letras de la Universidad de Buenos Aires en Artes UNIVERSIDAD DE BUENOS AIRES UNIVERSIDAD DE BUENOS AIRES FACULTAD DE FILOSOFÍA Y LETRAS Doctorado en Historia y Teoría de las Artes Tesis para optar al grado de Doctora en Historia y Teoría de las Artes Recorridos de la modernidad. Arte y cultura visual en las representaciones del paisaje urbano de Buenos Aires entre 1910 y 1936 Doctoranda: Mg. Catalina Verónica Fara Directora: Dra. María Isabel Baldasarre Consejera: Dra. Laura Malosetti Costa Buenos Aires Septiembre 2015 Índice AGRADECIMIENTOS a INTRODUCCIÓN 1 1. Tesis a sostener 4 2. Estado de la cuestión 5 3. Marco teórico y metodológico. Desafíos de la investigación 13 4. Debates sobre paisaje urbano y modernidad 18 4.1. Experiencia urbana y paisajes de Buenos Aires 22 5. Organización y contenido de los capítulos 24 CAPÍTULO 1. Miradas desde y sobre el agua. Buenos Aires y sus imágenes de ciudad costera 29 1. Vaivenes de la presencia del Río de La Plata en las imágenes urbanas 30 1.1. Panoramas de Buenos Aires desde el río 30 1.2. Recuperar el río como espacio: dilemas del urbanismo y metamorfosis de los paisajes 37 costeros 2. Hacia una dialéctica del paisaje ribereño: entre el sublime industrial y el Riachuelo como 51 reducto pintoresco 2.1.
    [Show full text]
  • 37Th Annual Nineteenth-Century French Studies Colloquium University of Pennsylvania and Villanova University 27-29 October 2011, Philadelphia, PA
    Law & Order / La loi & l’ordre: 37th Annual Nineteenth-Century French Studies Colloquium University of Pennsylvania and Villanova University 27-29 October 2011, Philadelphia, PA ABSTRACTS Helen Abbott, Bangor University Bending the laws of poetry in Baudelaire, Banville and Mallarmé This paper sets out to analyse how poets in the mid-to-late nineteenth century in France distort, manipulate or completely abolish accepted rules of poetry. It will focus on contemporary poetic treatises in conjunction with what poets say about their poetry. Banville’s own treatise will form a pivotal text in my analysis, but I will start with a close-reading of Baudelaire’s octosyllabic sonnet, ‘Épigraphe pour un Livre condamné’, published in 1861, in the wake of his 1857 trial for Les Fleurs du Mal. As a text which signals how Baudelaire bends the laws of poetry, he also outlines how he expects his readers to be capable of grasping the clever subtlety that his manipulations entail. What critical and poetic texts of this era reveal, then, is that prescriptive legislation surrounding poetic endeavours is not done away with altogether, but the emphasis shifts so that a new aesthetic criteria, the art of listening to poetry, takes centre stage in the debate over poetic validity and status. Like Baudelaire, Mallarmé is uneasy about explaining poetic techniques to the public, but when he does so, he uses legislative vocabulary, as his pivotal ‘Crise de vers’ text demonstrates. The influence of Banville’s prosodic theories on Mallarmé is made clear by his recognition that Banville provides an ideal example of how the alexandrine line can open itself up to greater flexibility, whilst not yet requiring a total dissolution of prosodic rules.
    [Show full text]
  • Cloth and Wood Come to Life When the Annenberg Center for the Performing Arts Presents the Philadelphia Premiere of Basil Twist’S Petrushka
    March 21, 2011 CLOTH AND WOOD COME TO LIFE WHEN THE ANNENBERG CENTER FOR THE PERFORMING ARTS PRESENTS THE PHILADELPHIA PREMIERE OF BASIL TWIST’S PETRUSHKA April 6—16, 2011 "Brilliantly imagined, wonderfully expressive, and breathtakingly realized" New York Magazine (Philadelphia, March 21, 2011) — Cloth and wood come to life when the Annenberg Center for the Performing Arts presents the Philadelphia premiere of Petrushka, conceived, designed and directed by Basil Twist, April 6-16, 2011. A tour-de-force of music, movement, design and storytelling, Petrushka is a puppet- theatre version of the legendary 1911 Ballets Russes production Petrouchka, the story of a tragic love triangle between three magical creatures; the lovesick clown Petrushka, the alluring Ballerina and the dashing Moor, whose stories emerge amidst the swirl of the Russian carnival. For tickets or for more information, please visit AnnenbergCenter.org or call 215.898.3900. Tickets can also be purchased in person at the Annenberg Center Box Office. The program begins with an abstract fantasia of puppetry set to Stravinsky's Sonata for Two Pianos, performed by Russian identical twin pianists Julia and Irina Elkina. After a brief pause, the trio of puppets takes the stage and the Elkina Sisters perform their own special two-piano arrangement of Stravinsky’s score based on the composer’s four-hand version of the piece. Nine hidden puppeteers dressed and hooded in black – Lindsay Abromaitis-Smith, Kate Brehm, Jenni Campbell, Kristen Kammermeyer, Keri Lewis, Jonothon Lyons, Marc Petrosino, Lake Simons and Christopher Williams – employ the puppetry technique Japanese Bunraku to bring the four feet tall puppets to life.
    [Show full text]
  • El Universo Futurista. 1909 - 1936
    Press kit El Universo Futurista. Departamento de Prensa [+54-11] 4104 1044 1909 - 1936 [email protected] www.proa.org Colección MART - Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Italia Fundación PROA Av. Pedro de Mendoza 1929 [C1169AAD] Buenos Aires Argentina Desde el 30 de marzo hasta el 4 de julio de 2010 PROA Giannetto Malmerendi. S i g n o r i n a + a m b i e n t e , 1914. Oleo sobre tela, 59 x 48 cm. MART, Rovereto …futurista, o sea, falto de pasado y libre de tradiciones ManifiestoLa Cinematografía Futurista. 1916 El Universo Futurista. 1909 - 1936 Inauguración Martes 30 de marzo de 2010, 19 horas - Con el apoyo del Instituto Italiano de Cultura de Buenos Aires - Embajada de Italia en Argentina Con el auspicio permanente de Tenaris / Organización Techint Idea y proyecto Departamento de Prensa MART Juan Pablo Correa / Andrés Herrera / Laura Jaul Fundación PROA [+54 11] 4104 1044 [email protected] Curadora www.proa.org Gabriella Belli Concepto y desarrollo de textos Comité asesor Franco Torchia Cecilia Iida Cintia Mezza Cecilia Rabossi Producción Beatrice Avanzi Clarenza Catullo Camila Jurado Aimé Iglesias Lukin Diseño expositivo Caruso-Torricella, Milán Conservación Teresa Pereda Diseño gráfico Spin, Londres Fundación PROA Av. Pedro de Mendoza 1929 La Boca, Ciudad de Buenos Aires - Horario Martes a domingo de 11 a 19 hs Lunes cerrado – - El Universo Futurista pág 3 1909-1936 …futurista, o sea, falto de pasado y libre de tradiciones ManifiestoLa Cinematografía Futurista. 1916 El Universo Futurista. 1909 - 1936 Colección MART - Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Italia Curadora: Gabriella Belli Futurismo no es futuro.
    [Show full text]
  • Elenco Di Consistenza Del
    ISTITUTO STORICO DELLA RESISTENZA IN TOSCANA ELENCO DI CONSISTENZA DEL FONDO MICHELE CANTARELLA Censimento delle carte al maggio 2010 a cura di Eleonora Giaquinto Nota preliminare La documentazione, divisa in ventuno buste, si presenta tuttora priva di ordinamento organico e numerazione delle carte. Le buste indicate nell’elenco con i numeri provvisori 1-16 contengono carteggio, fotografie e stralci di periodici, manoscritti e inviti, in prevalenza attinenti all’archivio di Michele Cantarella. Parte della documentazione, in alcuni casi non facilmente separabile dal complesso principale, è stata prodotta invece dalla moglie Helene Paquin Cantarella, traduttrice, e si configura come un archivio aggregato. Molto materiale riguarda Gaetano Salvemini, del quale Michele Cantarella curò la bibliografia. Di questa opera si conserva nelle carte di Cantarella grandissima parte del lavoro preparatorio. Sempre di Gaetano Salvemini si conservano qui manoscritti autografi e dattiloscritti delle traduzioni in lingua inglese realizzate per lui da H. Cantarella. Nelle buste provvisoriamente indicate coi numeri 17-21 si conservano invece alcuni periodici e opuscoli a stampa, donati dal produttore all’Istituto e in parte usati per la bibliografia. A causa del poco tempo a disposizione per il presente intervento, non si è potuto procedere al riordino, ma solo alla realizzazione di un censimento del contenuto del fondo. In conseguenza di ciò non è stato possibile naturalmente né spostare alcuna carta, né procedere alla numerazione delle stesse. Quindi i numeri indicati nella descrizione, sia quelli delle buste che quelli dei fascicoli provvisori, già esistenti o formati nel corso dell’intervento, hanno il solo scopo di dare un’idea sommaria della consistenza del fondo nel suo complesso.
    [Show full text]
  • Georges Bataille's Philosophy of Transgression and the Cinema Of
    Is Mark of the Devil an Example of Transgressive Cinema? Georges Bataille’s Philosophy of Transgression and the Cinema of the 1970s Marcus Stiglegger translated by Laura Melchior Abstract collective moment of fear, and raises the Witchploitation films of the late 1960s – like question of whether or not this could generate a Mark of the Devil (1970) – were often criticised ‘transgressive cinema’. And in particular it asks: for exploiting inquisitorial violence such as are witchploitation films transgressive? torture and rape for the sake of pure sensation. While the exploitative manner of dealing with Keywords: witchploitation, censorship, historically based violence is clearly an issue, at sensation, transgression, taboo, philosophy, the same time the question of what effect these Georges Bataille, exploitation film, violence, depictions of extreme violence might have on torture. the audience should be raised. Every culture has its own defined and accepted limits, which are made by collective agreement. Reaching and transgressing these limits amounts to the transgression of an interdiction, of a taboo. This article discusses the representations in the media of the act of transgression – commonly associated with the work of the French philosopher and novelist Georges Bataille – as a 21 The witchploitation films which followed the useful to delineate a theoretical key to success of Michael Reeves’s Witchfinder understanding this phenomenon. After General (1968) were often criticised for explaining the notion of transgression according exploiting inquisitorial violence such as torture to Georges Bataille, I will contextualise the and rape for the sake of pure sensation. In witchploitation films by analysing several Germany Mark of the Devil (Hexen bis aufs Blut movies relating to this concept and finally gequält, Michael Armstrong, 1970) was banned comment on the transgressive nature of till 2016, and in England this film was a well- Witchfinder General and Mark of the Devil.
    [Show full text]
  • Clove Galilee Performance Resume 2017-4
    CLOVE GALILEE SAG/AFTRA [email protected], clovegalilee.com Hair: Brown Eyes: Brown Height: 5’2” FILM/TELEVISION NIVEA SMOOTH SENSATION Voice CHIAT DAY National Commercial DEAD END KIDS Stephanie JoAnne Akalaitis CONTEMPLATING EMILY Emily Dickinson Lisa Rothe IN LOVE AGAIN Alex Marjorie Mailman TRICK SADDLE John Wayne Jenny Rogers NEW YORK STAGE DIRECTOR IMAGINING THE IMAGINARY INVALID Toinette/ Madame Bejart LaMama ETC. Clove Galilee RED BEADS Girl Skirball Center Lee Breuer THE TEMPEST Young Miranda NYSF/ Delacorte Lee Breuer CARA LUCIA Lucia Joyce HERE Stage Sharon Fogarty THE ROARING GIRLE Jen Foundry Theater Melanie Joseph MABOU MINES’ LEAR France Triplex Theater Lee Breuer TRICK SADDLE Rodeo Clown PS 122 Jenny Rogers AN EPIDOG Leslie HERE Stage Lee Breuer SCHOOL FOR DEVILS Little Devil Primary Stages Ken Russ Schmoll ANIMAL MAGNETISM Cherie Obey St. Ann’s Warehouse Lee Breuer WICKETS (Fefu Adaptation) Julia HERE Stage & 3LD Jenny Rogers ECCO PORCO Rose, Sue Lee PS 122 Lee Breuer IMAGINATION DEAD IMAGINE Woman Performing Garage Ruth Maleczech THE SHAGGY DOG ANIMATION Young Rose The Public Theater Lee Breuer SUMMA DRAMATICA Joey The Flea Lee Breuer BEEBO BRINKER (Reading) Laura NY Theater Wkshp Linda Chapman REGIONAL SCOTUS Theater Elena Kagan Flight Deck, CA Becca Wolff SILENT SKY Henrietta Leavitt Knox Center, CA Kelly Ground SYMPHONIE FANTASTIQUE Puppeteer Zeum Theater, CA Basil Twist THE CONDUCT OF LIFE Nena Rites & Reasons, RI Sara Smith STUPID KIDS (original production) Kimberly Leeds Theater, RI Angela Robinson EVEN AMONG
    [Show full text]
  • Pettoruti En Contexto: Instituciones, Redes Artístico- Intelectuales Y Culturas Visuales (Córdoba, 1926)
    Síntesis nº 3 / 2012 Historia Pettoruti en contexto: instituciones, redes artístico- intelectuales y culturas visuales (Córdoba, 1926) Paulina Iglesias [email protected] Licenciatura en Historia Directora de TFL: Ana Clarisa Agüero Beca de Iniciación en la Investigación otorgada por la SeCyT-FFyH Resumen: comprendida si se atiende a una serie de contextos de máxima pertinencia y que, En 1926 se desarrolló en el Salón Fasce de la genéricamente, presumimos de naturaleza ciudad de Córdoba una muestra del artista artístico-institucionales, sociológicas y estético- plástico Emilio Pettoruti. Esta exposición resulta de intelectuales. gran importancia, no sólo por ser la primera que se presentaba en la ciudad compuesta, en parte, por obras vanguardistas, sino también porque Palabras Clave: Vanguardia- Arte Moderno- desde antes de su inauguración, y por diversos Pettoruti- Marinetti- Clarín motivos, ya se vislumbraba conflictiva. Así, polémica desde el comienzo, la muestra fue Introducción tomando matices inéditos en el espacio artístico El presente artículo sintetiza los resultados cordobés, y culminaría con un gesto aun más original: la compra por parte del gobernador de la investigación realizada en el marco de la Ramón J. Cárcano de uno de los cuadros tesis de Licenciatura en Historia. Dicho trabajo expuestos, Los Bailarines, para su posterior analiza un evento artístico que tuvo lugar en integración al Museo Provincial. Córdoba en 1926 y resulta muy revelador para su El presente trabajo intenta releer las lecturas más historia cultural. Nos referimos a la exposición de habituales que existen sobre este evento en 37 obras, en su mayoría modernas y beneficio de la hipótesis en la que genéricamente vanguardistas, de Emilio Pettoruti, inaugurada el 9 se sostiene que tanto la llegada de Pettoruti a de agosto de 1926 en el Salón Fasce de dicha Córdoba como la accidentada recepción de sus ciudad.
    [Show full text]
  • On Stealing Viewpoints
    Performance Research A Journal of the Performing Arts ISSN: 1352-8165 (Print) 1469-9990 (Online) Journal homepage: http://www.tandfonline.com/loi/rprs20 On Stealing Viewpoints Tony Perucci To cite this article: Tony Perucci (2017) On Stealing Viewpoints, Performance Research, 22:5, 113-124, DOI: 10.1080/13528165.2017.1384188 To link to this article: https://doi.org/10.1080/13528165.2017.1384188 Published online: 19 Dec 2017. Submit your article to this journal Article views: 79 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rprs20 On Stealing Viewpoints TONY PERUCCI Mary Overlie is an observer/participant, (NYU’s) Experimental Theatre Wing (ETW) a deconstructing postmodern theatre practitioner, studio incorporated them into their theatre an original anarchist. She is a woman who is not practice. However, the increasing currency of afraid of obscurity, or worried that being unknown the ‘Viewpoints’ name in recent years is largely might obscure her ideas … The Six Viewpoints is due to its popularization by the acclaimed her child. Mary Overlie, Standing in Space: The Six Viewpoints theatre director Anne Bogart, through her Theory & Practice (2016c: 198) well-known work with SITI Company and their regular training ‘intensives’, as well as As she admits freely and often, Anne Bogart stole the 2005 publication of Anne Bogart and Tina the Viewpoints from Mary Overlie, a postmodern Landau’s The Viewpoints Book: A practical dancer and choreographer from Montana who came to New York in 1971. guide to viewpoints and composition. Bogart has Scott Cummings, Remaking American Theatre: long boasted of having ‘stolen’ the Viewpoints Charles Mee, Anne Bogart and the SITI Company from Overlie during her brief time teaching (2006: 110) at ETW, the studio that Overlie had helped You do not take work from someone else and use to found.
    [Show full text]
  • Cyberarts 2021 Since Its Inception in 1987, the Prix Ars Electronica Has Been Honoring Creativity and Inno- Vativeness in the Use of Digital Media
    Documentation of the Prix Ars Electronica 2021 Lavishly illustrated and containing texts by the prize-winning artists and statements by the juries that singled them out for recognition, this catalog showcases the works honored by the Prix Ars Electronica 2021. The Prix Ars Electronica is the world’s most time-honored media arts competition. Winners are awarded the coveted Golden Nica statuette. Ever CyberArts 2021 since its inception in 1987, the Prix Ars Electronica has been honoring creativity and inno- vativeness in the use of digital media. This year, experts from all over the world evaluated Prix Ars Electronica S+T+ARTS 3,158 submissions from 86 countries in four categories: Computer Animation, Artificial Intelligence & Life Art, Digital Musics & Sound Art, and the u19–create your world com - Prize ’21 petition for young people. The volume also provides insights into the achievements of the winners of the Isao Tomita Special Prize and the Ars Electronica Award for Digital Humanity. ars.electronica.art/prix STARTS Prize ’21 STARTS (= Science + Technology + Arts) is an initiative of the European Commission to foster alliances of technology and artistic practice. As part of this initiative, the STARTS Prize awards the most pioneering collaborations and results in the field of creativity 21 ’ and innovation at the intersection of science and technology with the arts. The STARTS Prize ‘21 of the European Commission was launched by Ars Electronica, BOZAR, Waag, INOVA+, T6 Ecosystems, French Tech Grande Provence, and the Frankfurt Book Fair. This Prize catalog presents the winners of the European Commission’s two Grand Prizes, which honor Innovation in Technology, Industry and Society stimulated by the Arts, and more of the STARTS Prize ‘21 highlights.
    [Show full text]